About the Book
Existing books on the analysis of popular music focus on theory and methodology, and normally discuss parts of songs briefly as examples. The impression often given is that songs are being chosen simply to illuminate and exemplify a theoretical position. In this book the obverse is true: songs take centre stage and are given priority. The authors analyse and interpret them intensively from a variety of theoretical positions that illuminate the song. Thus, methods and theories have to prove their use value in the face of a heterogeneous, contemporary repertoire. The book brings together researchers from very different cultural backgrounds and encourages them to compare their different hearings and to discuss the ways in which they make sense of specific songs.
All songs analysed are from the new millennium, most of them not older than three years. Because the most widely popular styles are too often ignored by academics, this book aims to shed light on how million sellers work musically. Therefore, it encompasses a broad palette, highlighting mainstream pop (Lady Gaga, Ke$ha, Lucenzo, Amy McDonald), but also accounting for critically acclaimed `indie’ styles (Fleet Foxes, Death Cab for Cutie, PJ Harvey), R&B (Destiny’s Child, Janelle Monae), popular hard rock (Kings of Leon, Rammstein), and current electronic music (Andrés, Björk). By concentrating on 13 well-known songs, this book offers some model analyses that can very easily be studied at home or used in seminars and classrooms for students of popular music at all academic levels.
Table of Contents:
Contents: Introduction, Ralf von Appen, André Doehring, Dietrich Helms, Allan F. Moore. Part I Listening Alone: Death cab for Cutie’s `I will follow you into the dark’ as exemplar of conven-tional tonal behaviour in recent rock music, Walter Everett; Ear candy: what makes Ke$ha’s `Tik Tok’ tick?, Ralf von Appen; Metrical ambiguity or microrhythmic flexibility? Analysing groove in `Nasty Girl’ by Destiny’s Child, Anne Danielsen; Pragmatic `Poker Face’: Lady Gaga’s song and Roman Jakobson’s six functions of communication, Dietrich Helms; Can’t get laid in Germany - Rammstein’s `Pussy’ (2009), Dietmar Elflein; An analysis of space, gesture and interaction in Kings of Leon’s `Sex On Fire’, Simon Zagorski-Thomas; Andrés’s `New For U’: new for us. On analysing electronic dance music, André Doehring; So just what kind of life is this? Amy McDonald’s `This Is The Life’, Allan F. Moore. Part II Listening Together: An ambiguous murder: questions of intertextuality in PJ Harvey’s `The Words That Maketh Murder’, Cláudia Azevedo, Chris Fuller, Juliana Guerrero, Michael Kaler and Brad Osborn; Interpreting meaning in/of Janelle Monáe’s `Tightrope’: style, groove and production considered, Frederike Arns, Mark Chilla, Mikko Karjalainen, Esa Lilja, Theresa Maierhofer-Lischka and Matthew Valnes; `Can’t Keep it to Myself’: exploring the theme of struggle in the Fleet Foxes’ `Helplessness Blues’, Paul Carter, Samantha Englander, Alberto Munarriz, Jadey O`Regan and Eileen Simonow; How to make a global dance hit: balancing the exotic with the familiar in `Danza Kuduro’ by Lucenzo featuring Don Omar, Félix Eid, María Emilia Greco, Jakub Kasperski, Andrew Martin and Edin Mujkanović; Analytical approaches to Björk’s `Crystalline’: a convergence of nature and technology, Phil Allcock, Natalia Bieletto, Maxime Cottin, Katharine Nelligan and Yvonne Thieré. Index.
About the Author :
Ralf von Appen holds a Ph.D. in Musicology from the University of Gießen, Germany, where he has been working as a teaching and research assistant since 2004. He has published widely about the history, psychology, aesthetics and analysis of popular music.
André Doehring studied Musicology and Sociology and is working as a musicologist at the University of Gießen, Germany. His current research topics focus on jazz, electronic dance music, popular music journalism, analysis and the sociology of music.
Dietrich Helms is Professor of Music History at the University of Osnabrück, Germany. He studied Musicology, English and Sociology at the University of Münster, Germany, and the Universities of East Anglia and Oxford, UK. He has published widely on music at the court of Henry VIII, popular music, music of early modern times and musical theatre for children.
Allan Moore is Professor of Popular Music at the University of Surrey, UK. His chief research interests lie in the domain of the interaction of music and lyrics in recorded song in the service of potential readings. He is series editor of Ashgate’s `Library of Essays in Popular Music’ and author to date of five monographs including Rock: the Primary Text and Song Means (both Ashgate).
Review :
'The last twenty years or so have seen a marked increase in academic writing about popular music by musicologists and music theorists. Song Interpretation in 21st-Century Pop Music brings together a talented group of scholars to make a significant and much anticipated contribution to this increasingly diverse field of analytical approaches and repertories. It will be required reading for anyone interested in hearing, and then re-hearing, recent popular music.' John Covach, Institute for Popular Music, University of Rochester, USA 'At last, a new, quality collection of pop music essays that truly values analysis, close reading and listener interpretation. It's refreshing to see the wide range of genres covered as well - it makes for a great post-modern playlist.' Justin A. Williams, University of Bristol, UK
`The last twenty years or so have seen a marked increase in academic writing about popular music by musicologists and music theorists. Song Interpretation in 21st-Century Pop Music brings together a talented group of scholars to make a significant and much anticipated contribution to this increasingly diverse field of analytical approaches and repertories. It will be required reading for anyone interested in hearing, and then re-hearing, recent popular music.’
John Covach, Institute for Popular Music, University of Rochester, USA
`At last, a new, quality collection of pop music essays that truly values analysis, close reading and listener interpretation. It's refreshing to see the wide range of genres covered as well - it makes for a great post-modern playlist.’
Justin A. Williams, University of Bristol, UK
